David Tress

David Tress is a British artist that was born in 1955 Wembley, northwest London. He studied at Harrow College of Art before graduating in Fine Arts from Trent Polytechnic, Nottingham. In 1976 he then moved to Pembrokeshire where he has lived ever since.

While he was at Trent, he became involved with experiments in conceptual and performance art, but later came to question the assumptions of modernism. Deciding that he had reached the limit of what he could achieve with realism alone, he instead developed an aggressively expressionist style that involves physically scraping or cutting the painted surface and then repairing it, building up layer upon layer as if to mimic the seasonal sequence of decay and regrowth.

As many artist would, he first starts with a drawing or sketch of his subject. This is normally when he is visiting the landscapes he wishes to paint. While walking in the countryside David Tress like to keep an open mind of what he wants to draw. This helps him clearly see the landscape and not get distracted by searching for his ideas of what he wants to draw. Often he revisits the same landscapes he has already painted and redraws them. He talks about how even when he returns to the same place that he has drawn before, there are still differences that occur, be it the time of year, weather, light, or just noticing something that he missed the last time. This makes each drawing different from the last.

After David Tress as completed his sketches, he then returns to his studio. Sometime days, or weeks later, he then looks at his drawings to start the painting. The painting is not just a likeness of the landscape, but rather captures what David Tress had done, felt and seen on that day. He tries to capture the emotional memories of the landscape, as well as the view that he has seen. His paintings develop slowly with some paintings having gaps of days, weeks, or sometimes months of no progress.

In each of his paintings David Tress likes to take risks with his work, trying out different ways of layering paint onto the cavers and going with his instinct. This way he feels that his decisions are made more with the subconscious, and that can make the painting more interesting and interactive instead of a flat technically accurate one.

With his use of layering canvas and paint, gradually it gives his work a rich texture that works well. This adds to the landscape mimicking trees, grass, mountains and even weather like fog or rain, as he has painted over it. David Tress seems to use these textures to his advantage with each layer adding its own detail and character. With the thick layering of paint it gives the landscapes a vibrant dramatic feel, while still having an abstract look to them.

Michelangelo – Life Drawing

Michelangelo, a compulsive drawer was being typically Florentine when he asserted that "Design, which by another name is called drawing . . . is the fount and body of painting and sculpture and architecture and of every other kind of painting and the root of all sciences." The preliminary drawings of artists are here seen as essential to the advancement of learning as the technical drawings made or commissioned by mathematicians, engineers, doctors and scientists.

Michelangelo was an artist who worked on projects in various disciplines. One of the commonalities that relate each of his works in the different fields together is that they all start with a drawing. Whether designing a tomb, planning a colossal sculpture, or beginning a fresco, they all begin with the initial sketches. Michelangelo would sketch what was to be painted or sculpted. Often, these sketches are of single figures that will make up the finished composition. In order to get the anatomical detail that renaissance painters, and especially Michelangelo are known for, they would work with models. Seeing the models in the various poses would show the artist how the body moves, muscles are defined, and all the parts of body relate to each other in contorted poses.

What makes these unique from the works the artist intends for people to see is that the drawings are very often not finished works. As can be seen in Michelangelo’s study for the Creation of Adam, it is a study of the torso of what would become Adam painted on the ceiling of the Sistine Chapel. The drawing shows a figure without a head, and no definition of one arm or leg. Scattered about on the same paper is repetitive representations of aspects of the figure. You can see the hands drawn multiple times as Michelangelo studies the positions. The only part of the figure with any real detail is the torso, and it becomes obvious that Michelangelo was drawing this purely for him to see and to prepare for the final work. It was drawn from a live model. Michelangelo manages to make the impossible position of Adam's upper body look convincing, because his observation of his muscular form and the play of light on it is compellingly realistic.

Michelangelo must have made a number of further drawings of Adam before the production of the cartoon (the full-size drawing which would have been transferred onto the ceiling). The head and the hands are only in outline here so would have needed refining.

Occasionally Michelangelo would produce finished drawings. As is the case for Head of an Ideal Woman, also known as Study of a Head. The amount of detail shown in the woman’s hair and helmet indicate that this was not just a preliminary sketch for another work, but was intended to be a piece in it’s own right. Many of the drawings not done as sketches, but as final drawings, were given to friends as gifts.

Whether the initial sketch or finished drawing, the medium Michelangelo used would be familiar to people today drawing. Both the Study of Adam and the Head of an Ideal woman use chalk on paper. It is also common to see sketches using pen and ink on paper or charcoal – all mediums that artist’s and students still use.

 This drawing is for Michelangelo's 'Bathers' scene, which was designed as the centrepiece for a never-executed fresco of the 'Battle of Cascina' for the Palazzo Vecchio in Florence. The drawing relates to the pivotal seated figure at the centre of the work. A combination of pen and lead white describe the model's glistening limbs in a highly effective way. The figure is of crucial importance in the larger scene because his turning body directs attention to the bodies behind. Close inspection of the figure reveals that, despite the remarkably realistic three-dimensional rendering, his pose is unnatural. This is particularly true of the upper body, which has been twisted to impossible limits.

This is a life study for the crucified figure of Haman, painted about 1511-12 on one of the corner sections of the altar wall of the Sistine chapel. The finished figure appears to stretch out his left arm into the real space of the chapel.

The model for the life drawing would have had to maintain a dynamic pose for a considerable length of time. He must have had his left leg supported in some way, perhaps by a loop suspended from the ceiling, and have held on to ropes to keep his arms aloft. The small circles visible on Haman's right thigh, and on the separate study of his bent left leg on the same sheet, are a notation used by Michelangelo to denote the most highlighted area.

Jenny Saville texture

Born in 1970, Jenny Saville is a contemporary British painter and associated with the Young British Artists. She is known for her large-scale painted depictions of nude women. Saville works and lives in Oxford, England.

Saville has been noted for creating art through the use of a classical standard; figure painting. Although Saville’s chosen method is traditional, she has found a way to reinvent figure painting and regain its position in the context of art history. Known primarily for her large-scale paintings of nude women, Saville has also emerged as a Young British Artist (YBA). Much of her work features distorted flesh, high-calibre brush strokes and patches of oil colour, while others reveal the surgeon’s mark of a plastic surgery operation. In 1994, Saville spent many hours observing plastic surgery operations in New York City.

Saville has dedicated her career to traditional figurative oil painting. Her painterly style has been compared to that of Lucian Freud and Rubens. Her paintings are usually much larger than life size. They are strongly pigmented and give a highly sensual impression of the surface of the skin as well as the mass of the body. She sometimes adds marks onto the body, such as white "target" rings.

Since her debut in 1992, Saville's focus has remained on the female body, slightly deviating into subjects with "floating or indeterminate gender," painting large scale paintings of transgender people. Her published sketches and documents include surgical photographs of liposuction, trauma victims, deformity correction, disease states and transgender patients

Jenny Saville:

"I have to really work at the tension between getting the paint to have the sensory quality that I want and be constructive in terms of building the form of a stomach, for example, or creating the inner crevice of a thigh. The more I do it, the more the space between abstraction and figuration becomes interesting. I want a painting realism. I try to consider the pace of a painting, of active and quiet areas. Listening to music helps a lot, especially music where there’s a hard sound and then soft breathable passages. In my earlier work my marks were less varied. I think of each mark or area as having the possibility of carrying a sensation." (Extract from ‘Interview with Jenny Saville by Simon Schama)

David Tress

David Tress

David Tress is a British artist that was born in 1955 Wembley, northwest London, he then studied at Harrow College of Art before graduating in Fine Arts from Trent Polytechnic, Nottingham. In 1976 he then moved to Pembrokeshire where he has lived ever since.

While he was at Trent, he became involved with experiments in conceptual and performance art but later, came to question the assumptions of modernism. Deciding that he had reached the limit of what he could achieve with realism alone, he instead developed an aggressively expressionist style that involves physically scraping or cutting the painted surface and then repairing it, building up layer upon layer as if to mimic the seasonal sequence of decay and regrowth.

As many artist would he first starts with a drawing or sketch of his subject this is normally when he is visiting the landscapes he wishes to paint.  While walking in the countryside David Tress like to keep an open mind of what he wants to draw, keeping an open mind helps him clearly see the landscape and not get detracted by searching for his ideas of what he wants to draw. Often he revisits the same landscapes he has already painted and redraws them. When talking about his sketches he talks about how even when he returns to the same place that he has draw before there are still differences that occur, be it from the time of year ,weather, light or just noticing something that he missed the last time that makes each drawing different from the last.

After he as completed his sketched he then returns to his studio as sometime day or weeks later then looks at his drawing to start the painting. This painting is not just a likeness of the landscape but rather to capture what it David Tress had done felt and seen on that day, he trys to capture the emotional memory's of the landscape as well as the view that he has seen.His paintings develop slowly with some paintings having gaps of day,week or sometime mouths of no progress.

In each of his paintings David Tress likes to take risks with his work trying out different ways of layering paint onto the cavers and going with his instinct this way he feels that hes decisions are made more with the subconscious and that can make the painting more interesting and interactive instead of a flat technically accurate one.

With his use of layering his canvas and paint on gradually it give his work a rich texture that works well, this adds to the landscape mimicking trees, grass, mountains and even weather like fog or rain as he has painted over it. David Tress seems to use these textures to his advantige with each layer adding its own detail and character. With the thick layering of paint it give the landscapes a vibrant dramatic feel while still having an abstract look to them.

Drawing Building a Texture ..5th January

Building a Texture ..5th January

With this being the first day back from the Christmas holidays, I was ready to get back into my work again. With Mondays still being dedicated to drawing, I was interested to see what we'd be doing. First we had an introduction on what we'd be doing for the rest of the day, which was the same as the last couple of months. We were ready to create some art.

We were given an A1 piece of paper and had to build a surface on the paper using the materials given to us; such as different papers, cardboard, string and sand. With a range of medium, and a variety of ways to use them, it was an interesting and creative exercise. This was not only because of the different outcomes that we were all going to have, but also because we were making the background textures without knowing what we will be painting or drawing on top of it next week.

I started by searching through the collection of materials. As I was looking through I had to think carefully about what I wanted my background texture to look like. With no idea of what I will be painting onto the A1 page, I could only work on the composition and layout of the contrasting textures I'd be applying on the page. Having taken some of the brown paper and scrunching it up, I started ripping and gluing the pieces on top of the A1 sheet, layering sections on top of one another. Once I'd covered most of the page with the paper, I started cutting different sized rectangles out of cardboard and gluing them to the top right corner, slowing getting smaller as they got closer to the centre of the page.

With more brown paper, I started to cover some of the cardboard to build the surface even more. I slowly added extra texture. Finally I cut, ripped and separated the corrugated cardboard and placed that on top of the other layers, taking different aspects of the corrugated cardboard and gluing them to the A1 sheet.

Once I was happy with the layers I had made, it was then time to cover the lot with a mix of glue and white paint, in order to have a clear page to work on top of next week.

Claude Lorraine

Claude Lorraine was a French landscape-painter, draughtsman and engraver. He was born in the small village of Chamagne, Vosges, then part of the Duchy of Lorraine. Although his early life is   unclear it is said that he moved to Rome, where he is said to have initially worked as a pastry cook. He was the enployed at the household of Agostino Tassi, progressing from domestic servant to studio assistant.

Claude Lorraine also spent two years in Naples studying  under the German-born landscapist Goffredo Wals it was here that he was deeply impressed by the beauty of the Gulf of Naples, and the memories of  these years will be inspiration for his paintings throughout his career.

In 1627 Lorrain returned to Rome. Here, two landscapes made for Cardinal Bentivoglio earned him the patronage of Pope Urban VIII. From about 1637 he rapidly achieved fame as a painter of landscapes and seascapes. He then traveled the Roman Campagna apparently befriended his fellow Frenchman Nicolas Poussin; together they would sketch landscapes. Though both have been called landscape painters, Poussin would have the landscape as the background to the figures; whereas Lorrain, placed figures in one corner of the canvas, the true subjects are the land, the sea, and the air.

In all of Claude Lorraine landscapes and seascapes he took great care to capture the smallest detail  giving them a very realistic feel. Most of his paintings especially his early work have a strong light source giving his artwork a dramatic presents. Claude Lorraine uses a strong sense of perspective in all his artworks, not only in his use for linear perspective but aerial perspective as well. His painting he manages to capture the depth of the landscapes using the aerial and linear perspective tricking the eye in thinking its viewing a three-demencanal world.

Albrecht Dürer

Albrecht Dürer was a German painter, engraver and printmaker but as well as being a artist  Albrecht Dürer is also know as a mathematician and theorist. Among the many artworks he produced he also published two books, one on geometry called the Four Books on Measurement and the other on human proportions is called the Four Books on Human Proportion. these books included a series of illustrations of drawing frames and perspective machines. The goal of these devices was to enable artists to take accurate measurements of their chosen subject or to trace a scene as it appeared before them in order to create a convincing illusion of the real world.

Many of the techniques used in the 15th and 16th centuries continued to be useful to later artists. The artist John Constable (1776 - 1837) used a glass frame similar to one described in the Treatise on Painting by Leonardo da Vinci (1452 - 1519).

Many artists have used grids to assist them in creating larger or smaller-scale copies. A grid is drawn over the original study, and another grid is marked out at the desired scale on the surface where the image is to be reproduced. The artist can then copy the part of the design that appears in each square at the new size. This technique is still in use today.

PERSPECTIVE MACHINE
String a grid in a frame, (preferred is a grid dividing the frame into thirds or a multiple of three, and a frame in golden proportion or the same proportion as your paper), fix it in place between you and your subject, as shown in Durer's etching. Use it along with a similar grid on your paper to aid in producing an accurate layout of your subject matter. Note that the relationship between your eye, the frame and the subject must remain constant. Useful when dealing with foreshortening or when accuracy of proportion is important to the layout.
A variation of this that works somewhat differently, in that you draw directly on the picture plane, is to place a piece of clear Plexiglas fixed in place between you and your subject, you can now draw your subject on the Plexiglas. Use a suitable maker, one that will clean off, and rough in your sketch. Now transfer the drawing to your paper using tracing and transfer papers, or transfer and enlarge using a grid. Gauze stretched in a frame can be used in place of Plexiglas, and if the size is right, can make it easier to transfer the rough sketch to paper or canvas.

USING A FINDER
 When viewing a subject, especially a landscape, it can be difficult to select what to include and what to exclude from the composition. If you find this to be the case you might try using a "finder" to assist in selecting that portion of the universe to include in your composition, and in its placement on your paper.
  You can make a finder from a piece of cardboard. Cut a rectangular opening approximately 3.5"x 5". (This is approximately the same proportion as a sheet of watercolor paper, if you are using some other size paper adjust the proportions of the rectangular opening to match your paper.) Hold this frame in front of you and closing one eye and moving the finder, study the arrangement of shapes you see in the finder. Move the finder around until a suitable arrangement is found. Once you have developed the "habit of selection" you will find it is no longer necessary to use the finder.
A photographic slide frame can be used as a finder, however, because of its size, you will need to hold it rather close to your eye.
John Pike's "Wonderful Perspective Machine" is such a finder with some extra features. It is a blue plastic frame (blue to aid in judging the values by neutralizing the color) with gird lines marked on it and moveable thin steel strips that can be lined up with building or other angles and are then held in place by the magnetic frame border. This allows you to set the strips and then judge the angle in relation to the grid on the finder and the same grid lightly marked on your paper.